This paper examines the assumptions underpinning one of the constitutive elements of the modern concept of art: the idea of aesthetic autonomy. I argue that the orientation of recent art practice towards what has come to be termed ‘site-specificity’ is best understood as a progressive relinquishment of the principle of aesthetic autonomy. I develop this position through a close analysis of the work of Miwon Kwon. The paper is intended as a case-study that investigates the problematic relation between historical and (...) philosophical enquiry. CiteULike Connotea Del.icio.us What's this? (shrink)

A feature that contributes to the charm of much poetry is its obscurity and indirectness. We want to grasp what the poet is saying and yet, it appears, to do so only with difficulty. How is this preference to be explained? (1) It contributes to promoting an ‘aesthetic attitude’. (2) It conforms to certain general features of human psychology, including (a) a general preference for indirectness and indeterminacy and (b) the pleasure of working things out. Distance, in the relevant sense, (...) may be regarded as an important positive quality of works of art; yet (1) this quality may continue to charm even after the difficulties have been overcome, and (2) its presence, in the case of unusual language, may be largely a matter of accident, depending on how long ago the work was written, and so on. (shrink)

One important but infrequently discussed difficulty with expressivism is the attitude type individuation problem.1 Expressivist theories purport to provide a unified account of normative states. Judgments of moral goodness, beauty, humor, prudence, and the like, are all explicated in the same way: as expressions of attitudes, what Allan Gibbard calls “states of norm-acceptance”. However, expressivism also needs to explain the difference between these different sorts of attitude. It is possible to judge that a thing is both aesthetically good and morally (...) bad. While the realist can explain the difference by suggesting that each judgment makes reference to a different property (or set of properties), the expressivist cannot. She must show that what is expressed by the speaker is different in each case. This has proven to be difficult to do. (shrink)

We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

It is sometimes claimed that Husserl's writings provide an inspiration for considering art today. More specifically we ask here whether Husserl's description of aesthetic attitude is rich and original. The comparisons he draws between the aesthetic attitude and the phenomenological attitude always aim to clarify the phenomenological attitude and thus take it for granted that the typical features of the aesthetic attitude are well known. In this way Husserl presupposes and retrieves the teaching of Kant, although in certain working notes (...) he clarifies and intensifies the formal and reflective characteristics of Kant's description of the aesthetic judgment. (shrink)

An attitude which hopes to derive aesthetic pleasure from an object is often thought to be in tension with an attitude which hopes to derive knowledge from it. The current article argues that this alleged conflict only makes sense when the aesthetic attitude and knowledge are construed unnaturally narrowly, and that when both are correctly understood there is no tension between them. To do this, the article first proposes a broad and satisfying account of the aesthetic attitude, and then considers (...) and rejects twelve reasons for thinking that deriving knowledge from something is incompatible with maintaining an aesthetic attitude towards it. Two main conclusions are drawn. 1) That the representational arts are often in a good position to communicate non-propositional knowledge about human beings. 2) That while our desire to obtain pleasure from a work's manifest properties, and our desire to obtain knowledge from it, are not the same motive, the formal similarities between them are sufficiently impressive to warrant both being seen as elements of the aesthetic attitude. (shrink)